This research work is focused on the forms of qualitative sound integration as part of the urban planning, and those forms are studied through the achievements of three pioneers of sound composition for public spaces. At the end of the 50's, the first noise-fighting policies were implemented by public authorities and aimed at tackling noise pollution by using a quantitative frame of work. In response to this approach, some composers adapted the notions of noise, pollution, and environment, and redefined them with the help of music theories. The field inquiry undertaken within the Collectif Environnement Sonore, founded by Pierre Mariétan, the Life Design Sonore agency, created by Louis Dandrel, and the Compagnie Décor Sonore, ran by Michel Risse, allowed for the study of different experiments aiming to promote environmental noise quality. The very notion of « sound environment », created by Pierre Mariétan in 1969, leads to a method based on a listening pratice that makes it possible to describe environmental noises based on their objective and perceptible distinguishing features. This qualitative approach of environmental noise is implemented through specialized practices. The environmental musicalizing (P. Mariétan), the acoustic design (L. Dandrel), and the acoustic gardening operations (M. Risse) demonstrate how the principles of music composing blend in architectural and urban designing ; Ce travail de recherche porte sur les formes d'intégration qualitative du son dans l'aménagement urbain, étudiées à travers les réalisations de trois pionniers de la composition sonore pour l'espace public. A la fin des années 1950, les premières politiques de lutte contre le bruit sont mises en oeuvre par les pouvoirs publics qui traitent les nuisances sonores à travers un référentiel quantitatif. En réaction à cette approche, certains compositeurs s'approprient les notions de bruit, de pollution et d'environnement qu'ils redéfinissent au moyen des théories musicales. L'enquête de terrain réalisée au sein du Collectif ...
This research work is focused on the forms of qualitative sound integration as part of the urban planning, and those forms are studied through the achievements of three pioneers of sound composition for public spaces. At the end of the 50's, the first noise-fighting policies were implemented by public authorities and aimed at tackling noise pollution by using a quantitative frame of work. In response to this approach, some composers adapted the notions of noise, pollution, and environment, and redefined them with the help of music theories. The field inquiry undertaken within the Collectif Environnement Sonore, founded by Pierre Mariétan, the Life Design Sonore agency, created by Louis Dandrel, and the Compagnie Décor Sonore, ran by Michel Risse, allowed for the study of different experiments aiming to promote environmental noise quality. The very notion of « sound environment », created by Pierre Mariétan in 1969, leads to a method based on a listening pratice that makes it possible to describe environmental noises based on their objective and perceptible distinguishing features. This qualitative approach of environmental noise is implemented through specialized practices. The environmental musicalizing (P. Mariétan), the acoustic design (L. Dandrel), and the acoustic gardening operations (M. Risse) demonstrate how the principles of music composing blend in architectural and urban designing ; Ce travail de recherche porte sur les formes d'intégration qualitative du son dans l'aménagement urbain, étudiées à travers les réalisations de trois pionniers de la composition sonore pour l'espace public. A la fin des années 1950, les premières politiques de lutte contre le bruit sont mises en oeuvre par les pouvoirs publics qui traitent les nuisances sonores à travers un référentiel quantitatif. En réaction à cette approche, certains compositeurs s'approprient les notions de bruit, de pollution et d'environnement qu'ils redéfinissent au moyen des théories musicales. L'enquête de terrain réalisée au sein du Collectif Environnement Sonore fondé par Pierre Mariétan, de l'agence Life Design Sonore crée par Louis Dandrel et de la Compagnie Décor Sonore dirigée par Michel Risse, a permis d'étudier différentes expérimentations visant à favoriser la qualité sonore dans l'environnement. La notion d'« environnement sonore » forgée par Pierre Mariétan en 1969 conduit à une méthode fondée sur la pratique de l'écoute, qui permet de qualifier les sons dans l'environnement à partir de leurs caractéristiques objectives et sensibles. Cette approche qualitative de l'environnement sonore est mise en oeuvre à travers des pratiques spécialisées. La musicalisation de l'environnement (P. Mariétan), le design sonore (L. Dandrel) et les opérations de jardinage acoustique (M. Risse) démontrent comment les principes de composition musicale s'intègrent à la conception architecturale et urbaine
The popular education is a collective apprenticeship, aiming at competency in diagnosis, rational analysis and critical awareness of the active citizenhip allowing each person to consciously understand his own particular social experience. The sociocultural animation leaders are general practitioners involved in treating relationship disorder through dialogue and a working interactive partnership in order to re-enforce or change the social link. There is a subtle alchemy in the relationship between volunteers and professionals in order to generate a collective skill : social partnership, the basis of which is built on common values in the construction of a political project. Non-formal learning systems need to be recognized as having an underlying educational purpose within inter-generational social groups, in life-long permanent education, in cultural democracy and in active citizenship. Associating with others gives opportunities for self-training in close surroundings, primarily through active listening and cooperation, debating citizen needs, elaborating constructive analyses on social and political action and proposing alternative answers. Educating citizens is about confering skills in discussion allowing people to understand specific issues and to debate various measures offering satisfactory solutions. Being able to solve problems comes from evaluating, experimenting, taking risks together and making choices after deliberation. Thinking and exchanging helps to bring knowledge about specific situations and a way of looking at reality that confers meaning and tolerance. Having the capacity to evaluate different contexts gives the possibility of imagining measures which could modify the environment and inherent social inequality ; L'éducation populaire est un apprentissage collectif à la compétence diagnostique, à l'argumentation rationnelle, à la réflexion critique sur la participation citoyenne pour que chacun puisse conscientiser son expérience sociale. Les animateurs socioculturels sont des généralistes ...
The popular education is a collective apprenticeship, aiming at competency in diagnosis, rational analysis and critical awareness of the active citizenhip allowing each person to consciously understand his own particular social experience. The sociocultural animation leaders are general practitioners involved in treating relationship disorder through dialogue and a working interactive partnership in order to re-enforce or change the social link. There is a subtle alchemy in the relationship between volunteers and professionals in order to generate a collective skill : social partnership, the basis of which is built on common values in the construction of a political project. Non-formal learning systems need to be recognized as having an underlying educational purpose within inter-generational social groups, in life-long permanent education, in cultural democracy and in active citizenship. Associating with others gives opportunities for self-training in close surroundings, primarily through active listening and cooperation, debating citizen needs, elaborating constructive analyses on social and political action and proposing alternative answers. Educating citizens is about confering skills in discussion allowing people to understand specific issues and to debate various measures offering satisfactory solutions. Being able to solve problems comes from evaluating, experimenting, taking risks together and making choices after deliberation. Thinking and exchanging helps to bring knowledge about specific situations and a way of looking at reality that confers meaning and tolerance. Having the capacity to evaluate different contexts gives the possibility of imagining measures which could modify the environment and inherent social inequality ; L'éducation populaire est un apprentissage collectif à la compétence diagnostique, à l'argumentation rationnelle, à la réflexion critique sur la participation citoyenne pour que chacun puisse conscientiser son expérience sociale. Les animateurs socioculturels sont des généralistes ...
The popular education is a collective apprenticeship, aiming at competency in diagnosis, rational analysis and critical awareness of the active citizenhip allowing each person to consciously understand his own particular social experience. The sociocultural animation leaders are general practitioners involved in treating relationship disorder through dialogue and a working interactive partnership in order to re-enforce or change the social link. There is a subtle alchemy in the relationship between volunteers and professionals in order to generate a collective skill : social partnership, the basis of which is built on common values in the construction of a political project. Non-formal learning systems need to be recognized as having an underlying educational purpose within inter-generational social groups, in life-long permanent education, in cultural democracy and in active citizenship. Associating with others gives opportunities for self-training in close surroundings, primarily through active listening and cooperation, debating citizen needs, elaborating constructive analyses on social and political action and proposing alternative answers. Educating citizens is about confering skills in discussion allowing people to understand specific issues and to debate various measures offering satisfactory solutions. Being able to solve problems comes from evaluating, experimenting, taking risks together and making choices after deliberation. Thinking and exchanging helps to bring knowledge about specific situations and a way of looking at reality that confers meaning and tolerance. Having the capacity to evaluate different contexts gives the possibility of imagining measures which could modify the environment and inherent social inequality ; L'éducation populaire est un apprentissage collectif à la compétence diagnostique, à l'argumentation rationnelle, à la réflexion critique sur la participation citoyenne pour que chacun puisse conscientiser son expérience sociale. Les animateurs socioculturels sont des généralistes de la relation pour dialoguer et de l'association pour agir ensemble avec une visée de renforcement ou de transformation du lien social. La relation des bénévoles et des professionnels est un assemblage délicat pour démultiplier la compétence collective de s'associer qui nécessite de partager des valeurs sur le projet politique. Le système de l'éducation nonformelle doit faire reconnaître sa visée éducative dans les socialisations intergénérationnelles, dans l'éducation permanente tout au long de la vie, dans la démocratie culturelle, dans la citoyenneté participative. L'association représente un espace d'autoformation sur un territoire de proximité : une situation d'écoute et de coopération, un débat sur les besoins des populations, une analyse critique de l'action sociale et politique, la construction de réponses alternatives. L'éducation du citoyen est une éducation à la discussion pour comprendre les problèmes et débattre des politiques envisagées pour y répondre. La posture de résolution de problèmes s'acquiert en évaluant, en expérimentant, en prenant des risques ensemble, et en délibérant pour choisir. La communauté réflexive et dialogique construit un savoir sur les contextes et une interprétation de la réalité pour produire du sens et dépasser les préjugés, l'évaluation de la situation permet de penser des actions pour essayer de modifier l'environnement et les interactions inégalitaires
New Zealand is almost the perfect example of the `soc state', & does not offer a suitable arena for the development of pol'al debates. In fact, the New Zealanders prefer to watch sports spectacles rather than the discussions of pol'al groups. Nevertheless they participate extensively in the parliamentary elections. Local elections are less well participated in. The activities of the pol'al parties, of which the active members are many, but which are comprised of a very large number of passive adherents, are not, at least not at the local level, essentially pol'al as much as they are soc in nature. Opinion polls on newspaper editorials, on the extent of listening to radio lectures on pol'al matters, & the amount of participation in election campaigns indicate in diff to the major pol'al problems. An examination of participation in various kinds of private associations shows that New Zealanders, if they enjoy joining groups, do so mainly for the pleasure of joining rather than to achieve any specific goals. Tr from IPSA by J. A. Broussard.
The geoacoustic inversion aims at giving an estimate of the oceanographic properties impacting the acoustic propagation. Most of the current geoacoustic inversion methods are active methods. However, the environment protection policy as well as military necessity of discretion is leading the community into working on less invasive and more discrete inversion schemes. The main idea of passive geoacoustic inversion is to take advantage of opportunity sources by listening to the effect of the environmental properties on their propagation. This PhD work focuses on the development and the validation of a new passive geoacoustic inversion scheme relying on marine mammals frequency modulations recorded on a single hydrophone in shallow waters. This mono-receiver method uses the multipath propagation. The processing of a set of calls provide an estimate of the reflexion coefficient regarding the grazing angle. High resolution separation tools based on bespoke time warping operators have been developed to improve the range of the method in case of not reported multipaths. When the paths remains unresolved (thus unidentified), others tools have been implemented that allows to locate the source with groups of unidentified paths. This localisation can be reached in 3D using only one receiver in varied bathymetry. We analyse the directivity for the high-frequency signals we planed to use and demonstrate how to take into account the directivity as soon as the source directivity pattern is available. ; L'inversion géoacoustique permet d'estimer les propriétés du milieu marin à partir de ses effets sur la propagation acoustique. Les politiques de protection de l'environnement, mais également les besoins militaires liés à la discrétion, ont conduit la communauté à se pencher sur des alternatives discrètes et moins invasives que les méthodes actuelles actives. En contexte passif, l'environnement est étudié à partir de son impact sur la propagation de signaux émis par des sources d'opportunité déjà présentes dans le milieu. Les ...
In this thesis, we wonder how countercultural movement found new places of expression through the increased accessibility of audiovisual, thanks to "free radio" fight. Specifically, we want to know why and how society and the French media have enabled the establishment of an alternative media like Radio Ici et Maintenant (RIM) and how this radio has found a viable business model to spread its ideology. We shall see that the existence and persistence of RIM is due to the combination of two factors: firstly the reduction in the cost of entry into the radio broadcasting through the development and struggle of "free radio" that gave birth to associative radios (with their specific legal and economic model) and also the decrease in the cost of entering the religious market with the development of the French New Age counterculture issue of the American counterculture, itself the result of religious thoughts Western alternatives (related to the esoteric, the mediumship) and Eastern religions (Hinduism and Buddhism). Thus, the specific legal and economic model of associative radios allowed to live and persist "radiolibriste" and New Age ideology within RIM. But add that this model would not have been possible if it had not been worn by volunteer facilitators, invited activists and active listeners which we analyze the sociological profile. The scientific interest of this subject is the fact that it is mainly to study RIM which is an old "free radio". She was one of the most important radio stations in the movement. It is the oldest Parisian private local radio station. Today, it is a community radio (category A). This category corresponds to a large number of radio stations (about 600), but these are little studied. Finally, this is a New Age radio and one of the only French audiovisual media New Age. Crossing history and sociology of religion, media, communication, politics, science, this thesis is based on a constant listening, on numerous interviews and informal discussions on the study of different archives (paper, ...
In this thesis, we wonder how countercultural movement found new places of expression through the increased accessibility of audiovisual, thanks to "free radio" fight. Specifically, we want to know why and how society and the French media have enabled the establishment of an alternative media like Radio Ici et Maintenant (RIM) and how this radio has found a viable business model to spread its ideology. We shall see that the existence and persistence of RIM is due to the combination of two factors: firstly the reduction in the cost of entry into the radio broadcasting through the development and struggle of "free radio" that gave birth to associative radios (with their specific legal and economic model) and also the decrease in the cost of entering the religious market with the development of the French New Age counterculture issue of the American counterculture, itself the result of religious thoughts Western alternatives (related to the esoteric, the mediumship) and Eastern religions (Hinduism and Buddhism). Thus, the specific legal and economic model of associative radios allowed to live and persist "radiolibriste" and New Age ideology within RIM. But add that this model would not have been possible if it had not been worn by volunteer facilitators, invited activists and active listeners which we analyze the sociological profile. The scientific interest of this subject is the fact that it is mainly to study RIM which is an old "free radio". She was one of the most important radio stations in the movement. It is the oldest Parisian private local radio station. Today, it is a community radio (category A). This category corresponds to a large number of radio stations (about 600), but these are little studied. Finally, this is a New Age radio and one of the only French audiovisual media New Age. Crossing history and sociology of religion, media, communication, politics, science, this thesis is based on a constant listening, on numerous interviews and informal discussions on the study of different archives (paper, ...
Developments in the international institutional context and in the capacity of governments to ensure sustainable forest management in Central Africa lead to new approaches to participatory management being explored. The author reviews current initiatives in this field in Congo Brazzaville, Gabon, Cameroon, Central African Republic and Equatorial Guinea. Such initiatives are still in an experimental stage and aim at answering issues linked with conventional forest management as well as meeting prerequisites imposed by international organisations for granting aid to development. These new approaches apply to four main areas: (1) Planning in the form of Forest Action Plans (TFAP/NFAP) and Environmental Management or Action Plans (EMP/EAP). Only those being in a development process take into account the participatory approach. (2) Protected areas. The current trend, especially at regional level (ECOFAC), is to substitute involvement of local populations in sustainable resource management for protection of forest islands. (3) Community forests. Cameroon has changed its legislation and is in an experimental stage. Congo and Gabon are engaged in reforming their laws. And (4) Management for timber production. Participation of local people is recommended, however the mode of implementation is not clearly defined. Research is involved at different levels: function of advice and analysis, definition of operational modes of implementation, and social experimentation. The author describes analysis patterns (theory of land control, modes of appropriation), and the main research focuses. Most important is communication, using approaches such as GRAAP (Research Group in Support to Self-Promotion) and MARP (Active Method of Participatory Research). Objectives are listening, informing and awareness-raising. The economic alternatives approach, based on a combination of incentives and disincentives, is increasingly used, as well as institutional alternatives approach. The success of a co-management process is dependent on taking into account all categories of actors involved in decision-making.
The geoacoustic inversion aims at giving an estimate of the oceanographic properties impacting the acoustic propagation. Most of the current geoacoustic inversion methods are active methods. However, the environment protection policy as well as military necessity of discretion is leading the community into working on less invasive and more discrete inversion schemes. The main idea of passive geoacoustic inversion is to take advantage of opportunity sources by listening to the effect of the environmental properties on their propagation. This PhD work focuses on the development and the validation of a new passive geoacoustic inversion scheme relying on marine mammals frequency modulations recorded on a single hydrophone in shallow waters. This mono-receiver method uses the multipath propagation. The processing of a set of calls provide an estimate of the reflexion coefficient regarding the grazing angle. High resolution separation tools based on bespoke time warping operators have been developed to improve the range of the method in case of not reported multipaths. When the paths remains unresolved (thus unidentified), others tools have been implemented that allows to locate the source with groups of unidentified paths. This localisation can be reached in 3D using only one receiver in varied bathymetry. We analyse the directivity for the high-frequency signals we planed to use and demonstrate how to take into account the directivity as soon as the source directivity pattern is available. ; L'inversion géoacoustique permet d'estimer les propriétés du milieu marin à partir de ses effets sur la propagation acoustique. Les politiques de protection de l'environnement, mais également les besoins militaires liés à la discrétion, ont conduit la communauté à se pencher sur des alternatives discrètes et moins invasives que les méthodes actuelles actives. En contexte passif, l'environnement est étudié à partir de son impact sur la propagation de signaux émis par des sources d'opportunité déjà présentes dans le milieu. Les travaux présentés dans ce manuscrit sont consacrés au développement et à l'évaluation d'une méthode d'inversion géoacoustique passive à partir de modulations de fréquences de mammifères marins enregistrées sur un unique hydrophone. Cette méthode monocapteur exploite la propagation multitrajets de ces modulations de fréquences, propagées en environnement petits fonds pour en extraire l'information nécessaire à l'estimation du coefficient de réflexion du fond. Le traitement d'une collection de signaux permet de décrire une courbe du coefficient de réflexion en fonction de l'angle de rasance sur le fond. La méthode est dotée d'outils permettant l'extraction des observables nécessaires à l'inversion. Des outils de séparation haute résolution des trajets ont été développés pour les cas de propagation multitrajets non résolue. Avec un unique capteur, la localisation en 3D est rendue possible grâce à l'apport de la bathymétrie, même lorsque les trajets d'arrivée sont non séparables et non identifiables. La directivité des sources hautes fréquences, ciblées pour l'inversion, a été analysée et sa prise en compte dans le cas d'un diagramme de directivité connu est présentée.
International audience ; This article examines the relationship between music and the memory of the past, in particular the memory of the Burundi civil war as a historical experience. It deals with the way in which music has become both a medium of memory and a lieu de mémoire regardless of the intention of its composers. Since the assassination of President Ndadaye in October 1993 and during the following months, the National Radio and Television of Burundi frequently aired songs. Among them were two songs, "Ibimenyetso vy'ibihe" ("The Signs of Time") and "Shalom" ("Peace"). These gospels were sung by the Rwandan choir Hoziana Choir. This article explores the representations associated today with these two songs by those who used to hear them on the radio in time of war and exile. Based on the ethnography of Burundians living in Île-de-France, this paper shows how these songs activate different memories related to pain, loss, suffering but also to the ordinary actions of those who tried to stand in the way of massacres. Listening to them brings back a memory that transcends ethnic groups or social categories, promoting on the contrary a community of experience at a national scale. For the survivors of the civil war, the memory charge of these gospels takes precedence over their religious character, but for the new generation they are mere religious songs. The memory charge of these songs is therefore fragile and is likely to disappear. The article insists that these two songs are "unintentional musical monuments": they differ from built monuments as they are mobile and able to reach out to those who remember or commemorate. These two gospels also became warning signs of war, especially of the assassination of a president: they are therefore ominous songs which, in the imagination of those who witnessed the civil war, have the capacity to act and cause a regicide. Listening to or hearing these songs activates individual or shared memories of the past, but at the same time it induces reactions linked to the political present and projections into a possible future—this reminds us how much memory lies at the junction between past, present and future. ; L'article examine les relations entre la musique et la mémoire du passé, plus particulièrement la mémoire de l'expérience historique que fut la guerre civile au Burundi. Il traite de la façon dont la musique est devenue, indépendamment de l'intention de ses auteurs, un support de mémoire et un lieu de mémoire. Depuis l'assassinat du Président Ndadaye en octobre 1993 et pendant les mois qui ont suivi, des chants passèrent fréquemment sur les ondes de la Radio-Télévision nationale du Burundi. Parmi eux figuraient deux chansons, « Ibimenyetso vy'ibihe » (« Les signes des temps ») et « Shalom » (« La paix »). Il s'agit de gospels chantés par la chorale rwandaise Hoziana Choir. L'article explore les représentations aujourd'hui associées à ces deux chants par celles et ceux qui les entendaient jadis à la radio dans un contexte de guerre et d'exil.À partir d'une enquête ethnographique réalisée auprès de Burundais vivant en Île-de-France, l'article montre que ces chants activent différentes mémoires associées à la douleur, à la perte, à la souffrance, mais aussi aux actes ordinaires de ceux qui ont tenté de s'opposer aux massacres. Leur écoute fait resurgir une mémoire qui transcende les ethnies ou les catégories sociales pour fait valoir une même communauté d'expérience à l'échelle de la nation. Si, pour ces rescapés de la guerre civile, la dimension mémorielle prime sur la dimension religieuse, ces gospels ne sont plus de simples chansons religieuses pour les nouvelles générations. Leur charge mémorielle est donc fragile et risque de disparaître. L'article considère ces deux chants comme des « monuments musicaux non intentionnels » : ils se distinguent des monuments bâtis par leur spécificité d'être mobiles, allant ainsi à la rencontre de celle ou celui qui se souvient ou commémore. Ces deux gospels sont aussi devenus des signes avant-coureurs de la guerre, plus particulièrement de l'assassinat d'un président : ce sont donc des chants de mauvais augure qui, dans l'imaginaire des anciens témoins de la guerre civile, ont la capacité d'agir en provoquant un régicide. Écouter ou entendre ces chants active des souvenirs individuels ou partagés du passé, mais induit en même temps des réactions liées au présent politique et des projections dans un avenir possible, rappelant combien la mémoire se situe à la jonction entre passé, présent et futur. ; O artigo examina as relações entre a música e a memória do passado, particularmente a memória da experiência histórica da guerra civil no Burundi. Discute-se de que maneira a música se tornou, a despeito das intenções de seus autores, um suporte de memória e um lugar de memória. Após o assassinato do Presidente Ndadaye, em outubro de 1993, e ao longo dos meses que se seguiram, cânticos foram repetidamente transmitidos pelas ondas da Radio-Télévision Nationale du Burundi (RTNB). Dentre eles, duas canções se destacam: "Ibimenyetso vy'ibihe" ("Os sinais dos tempos") e "Shalom" ("Paz"). Trata-se de cantos gospel entoados pelo coral ruandês Hoziana Choir. O artigo investiga as representações atualmente associadas a esses dois cânticos por aquelas e aqueles que outrora os escutaram no rádio em um contexto de guerra e de exílio. A partir de um levantamento etnográfico realizado junto aos burundianos que vivem na Île-de-France, o artigo mostra que esses cânticos ativam diferentes memórias associadas à dor, à perda, ao sofrimento, mas, do mesmo modo, aos atos cotidianos daqueles que procuraram se opor aos massacres. Escutá-los ressuscita uma memória que transcende as etnias e as categorias sociais, na medida em que é exaltada uma mesma comunidade de experiência em escala nacional. Enquanto para esses sobreviventes da guerra civil a dimensão da memória tem precedência sobre a religiosa, para as novas gerações esses cantos gospel não são mais do que canções religiosas. A sua carga memorial é, desse modo, frágil, e corre o risco de desaparecer. O artigo considera esses dois cânticos como "monumentos musicais não intencionais": estes se distinguem dos monumentos construídos pela especificidade de serem móveis, indo ao encontro daquela ou daquele que se recorda ou comemora. Esses dois cantos gospel também se tornaram sinais de prenúncio da guerra, mais particularmente do assassinato de um presidente: são, portanto, cânticos de mau agouro que, no imaginário dos antigos testemunhos da guerra civil, tiveram a capacidade de agir ao provocar um regicídio. Escutar ou ouvir esses cânticos ativa as lembranças individuais e compartilhadas, mas, ao mesmo tempo, incita as reações ligadas ao presente político e às projeções de um porvir possível, recordando como a memória se situa na junção entre o passado, o presente e o futuro.
International audience ; This article examines the relationship between music and the memory of the past, in particular the memory of the Burundi civil war as a historical experience. It deals with the way in which music has become both a medium of memory and a lieu de mémoire regardless of the intention of its composers. Since the assassination of President Ndadaye in October 1993 and during the following months, the National Radio and Television of Burundi frequently aired songs. Among them were two songs, "Ibimenyetso vy'ibihe" ("The Signs of Time") and "Shalom" ("Peace"). These gospels were sung by the Rwandan choir Hoziana Choir. This article explores the representations associated today with these two songs by those who used to hear them on the radio in time of war and exile. Based on the ethnography of Burundians living in Île-de-France, this paper shows how these songs activate different memories related to pain, loss, suffering but also to the ordinary actions of those who tried to stand in the way of massacres. Listening to them brings back a memory that transcends ethnic groups or social categories, promoting on the contrary a community of experience at a national scale. For the survivors of the civil war, the memory charge of these gospels takes precedence over their religious character, but for the new generation they are mere religious songs. The memory charge of these songs is therefore fragile and is likely to disappear. The article insists that these two songs are "unintentional musical monuments": they differ from built monuments as they are mobile and able to reach out to those who remember or commemorate. These two gospels also became warning signs of war, especially of the assassination of a president: they are therefore ominous songs which, in the imagination of those who witnessed the civil war, have the capacity to act and cause a regicide. Listening to or hearing these songs activates individual or shared memories of the past, but at the same time it induces reactions linked to the political present and projections into a possible future—this reminds us how much memory lies at the junction between past, present and future. ; L'article examine les relations entre la musique et la mémoire du passé, plus particulièrement la mémoire de l'expérience historique que fut la guerre civile au Burundi. Il traite de la façon dont la musique est devenue, indépendamment de l'intention de ses auteurs, un support de mémoire et un lieu de mémoire. Depuis l'assassinat du Président Ndadaye en octobre 1993 et pendant les mois qui ont suivi, des chants passèrent fréquemment sur les ondes de la Radio-Télévision nationale du Burundi. Parmi eux figuraient deux chansons, « Ibimenyetso vy'ibihe » (« Les signes des temps ») et « Shalom » (« La paix »). Il s'agit de gospels chantés par la chorale rwandaise Hoziana Choir. L'article explore les représentations aujourd'hui associées à ces deux chants par celles et ceux qui les entendaient jadis à la radio dans un contexte de guerre et d'exil.À partir d'une enquête ethnographique réalisée auprès de Burundais vivant en Île-de-France, l'article montre que ces chants activent différentes mémoires associées à la douleur, à la perte, à la souffrance, mais aussi aux actes ordinaires de ceux qui ont tenté de s'opposer aux massacres. Leur écoute fait resurgir une mémoire qui transcende les ethnies ou les catégories sociales pour fait valoir une même communauté d'expérience à l'échelle de la nation. Si, pour ces rescapés de la guerre civile, la dimension mémorielle prime sur la dimension religieuse, ces gospels ne sont plus de simples chansons religieuses pour les nouvelles générations. Leur charge mémorielle est donc fragile et risque de disparaître. L'article considère ces deux chants comme des « monuments musicaux non intentionnels » : ils se distinguent des monuments bâtis par leur spécificité d'être mobiles, allant ainsi à la rencontre de celle ou celui qui se souvient ou commémore. Ces deux gospels sont aussi devenus des signes avant-coureurs de la guerre, plus particulièrement de l'assassinat d'un président : ce sont donc des chants de mauvais augure qui, dans l'imaginaire des anciens témoins de la guerre civile, ont la capacité d'agir en provoquant un régicide. Écouter ou entendre ces chants active des souvenirs individuels ou partagés du passé, mais induit en même temps des réactions liées au présent politique et des projections dans un avenir possible, rappelant combien la mémoire se situe à la jonction entre passé, présent et futur. ; O artigo examina as relações entre a música e a memória do passado, particularmente a memória da experiência histórica da guerra civil no Burundi. Discute-se de que maneira a música se tornou, a despeito das intenções de seus autores, um suporte de memória e um lugar de memória. Após o assassinato do Presidente Ndadaye, em outubro de 1993, e ao longo dos meses que se seguiram, cânticos foram repetidamente transmitidos pelas ondas da Radio-Télévision Nationale du Burundi (RTNB). Dentre eles, duas canções se destacam: "Ibimenyetso vy'ibihe" ("Os sinais dos tempos") e "Shalom" ("Paz"). Trata-se de cantos gospel entoados pelo coral ruandês Hoziana Choir. O artigo investiga as representações atualmente associadas a esses dois cânticos por aquelas e aqueles que outrora os escutaram no rádio em um contexto de guerra e de exílio. A partir de um levantamento etnográfico realizado junto aos burundianos que vivem na Île-de-France, o artigo mostra que esses cânticos ativam diferentes memórias associadas à dor, à perda, ao sofrimento, mas, do mesmo modo, aos atos cotidianos daqueles que procuraram se opor aos massacres. Escutá-los ressuscita uma memória que transcende as etnias e as categorias sociais, na medida em que é exaltada uma mesma comunidade de experiência em escala nacional. Enquanto para esses sobreviventes da guerra civil a dimensão da memória tem precedência sobre a religiosa, para as novas gerações esses cantos gospel não são mais do que canções religiosas. A sua carga memorial é, desse modo, frágil, e corre o risco de desaparecer. O artigo considera esses dois cânticos como "monumentos musicais não intencionais": estes se distinguem dos monumentos construídos pela especificidade de serem móveis, indo ao encontro daquela ou daquele que se recorda ou comemora. Esses dois cantos gospel também se tornaram sinais de prenúncio da guerra, mais particularmente do assassinato de um presidente: são, portanto, cânticos de mau agouro que, no imaginário dos antigos testemunhos da guerra civil, tiveram a capacidade de agir ao provocar um regicídio. Escutar ou ouvir esses cânticos ativa as lembranças individuais e compartilhadas, mas, ao mesmo tempo, incita as reações ligadas ao presente político e às projeções de um porvir possível, recordando como a memória se situa na junção entre o passado, o presente e o futuro.
International audience ; This article examines the relationship between music and the memory of the past, in particular the memory of the Burundi civil war as a historical experience. It deals with the way in which music has become both a medium of memory and a lieu de mémoire regardless of the intention of its composers. Since the assassination of President Ndadaye in October 1993 and during the following months, the National Radio and Television of Burundi frequently aired songs. Among them were two songs, "Ibimenyetso vy'ibihe" ("The Signs of Time") and "Shalom" ("Peace"). These gospels were sung by the Rwandan choir Hoziana Choir. This article explores the representations associated today with these two songs by those who used to hear them on the radio in time of war and exile. Based on the ethnography of Burundians living in Île-de-France, this paper shows how these songs activate different memories related to pain, loss, suffering but also to the ordinary actions of those who tried to stand in the way of massacres. Listening to them brings back a memory that transcends ethnic groups or social categories, promoting on the contrary a community of experience at a national scale. For the survivors of the civil war, the memory charge of these gospels takes precedence over their religious character, but for the new generation they are mere religious songs. The memory charge of these songs is therefore fragile and is likely to disappear. The article insists that these two songs are "unintentional musical monuments": they differ from built monuments as they are mobile and able to reach out to those who remember or commemorate. These two gospels also became warning signs of war, especially of the assassination of a president: they are therefore ominous songs which, in the imagination of those who witnessed the civil war, have the capacity to act and cause a regicide. Listening to or hearing these songs activates individual or shared memories of the past, but at the same time it induces reactions linked to the political present and projections into a possible future—this reminds us how much memory lies at the junction between past, present and future. ; L'article examine les relations entre la musique et la mémoire du passé, plus particulièrement la mémoire de l'expérience historique que fut la guerre civile au Burundi. Il traite de la façon dont la musique est devenue, indépendamment de l'intention de ses auteurs, un support de mémoire et un lieu de mémoire. Depuis l'assassinat du Président Ndadaye en octobre 1993 et pendant les mois qui ont suivi, des chants passèrent fréquemment sur les ondes de la Radio-Télévision nationale du Burundi. Parmi eux figuraient deux chansons, « Ibimenyetso vy'ibihe » (« Les signes des temps ») et « Shalom » (« La paix »). Il s'agit de gospels chantés par la chorale rwandaise Hoziana Choir. L'article explore les représentations aujourd'hui associées à ces deux chants par celles et ceux qui les entendaient jadis à la radio dans un contexte de guerre et d'exil.À partir d'une enquête ethnographique réalisée auprès de Burundais vivant en Île-de-France, l'article montre que ces chants activent différentes mémoires associées à la douleur, à la perte, à la souffrance, mais aussi aux actes ordinaires de ceux qui ont tenté de s'opposer aux massacres. Leur écoute fait resurgir une mémoire qui transcende les ethnies ou les catégories sociales pour fait valoir une même communauté d'expérience à l'échelle de la nation. Si, pour ces rescapés de la guerre civile, la dimension mémorielle prime sur la dimension religieuse, ces gospels ne sont plus de simples chansons religieuses pour les nouvelles générations. Leur charge mémorielle est donc fragile et risque de disparaître. L'article considère ces deux chants comme des « monuments musicaux non intentionnels » : ils se distinguent des monuments bâtis par leur spécificité d'être mobiles, allant ainsi à la rencontre de celle ou celui qui se souvient ou commémore. Ces deux gospels sont aussi devenus des signes avant-coureurs de la guerre, plus particulièrement de l'assassinat d'un président : ce sont donc des chants de mauvais augure qui, dans l'imaginaire des anciens témoins de la guerre civile, ont la capacité d'agir en provoquant un régicide. Écouter ou entendre ces chants active des souvenirs individuels ou partagés du passé, mais induit en même temps des réactions liées au présent politique et des projections dans un avenir possible, rappelant combien la mémoire se situe à la jonction entre passé, présent et futur. ; O artigo examina as relações entre a música e a memória do passado, particularmente a memória da experiência histórica da guerra civil no Burundi. Discute-se de que maneira a música se tornou, a despeito das intenções de seus autores, um suporte de memória e um lugar de memória. Após o assassinato do Presidente Ndadaye, em outubro de 1993, e ao longo dos meses que se seguiram, cânticos foram repetidamente transmitidos pelas ondas da Radio-Télévision Nationale du Burundi (RTNB). Dentre eles, duas canções se destacam: "Ibimenyetso vy'ibihe" ("Os sinais dos tempos") e "Shalom" ("Paz"). Trata-se de cantos gospel entoados pelo coral ruandês Hoziana Choir. O artigo investiga as representações atualmente associadas a esses dois cânticos por aquelas e aqueles que outrora os escutaram no rádio em um contexto de guerra e de exílio. A partir de um levantamento etnográfico realizado junto aos burundianos que vivem na Île-de-France, o artigo mostra que esses cânticos ativam diferentes memórias associadas à dor, à perda, ao sofrimento, mas, do mesmo modo, aos atos cotidianos daqueles que procuraram se opor aos massacres. Escutá-los ressuscita uma memória que transcende as etnias e as categorias sociais, na medida em que é exaltada uma mesma comunidade de experiência em escala nacional. Enquanto para esses sobreviventes da guerra civil a dimensão da memória tem precedência sobre a religiosa, para as novas gerações esses cantos gospel não são mais do que canções religiosas. A sua carga memorial é, desse modo, frágil, e corre o risco de desaparecer. O artigo considera esses dois cânticos como "monumentos musicais não intencionais": estes se distinguem dos monumentos construídos pela especificidade de serem móveis, indo ao encontro daquela ou daquele que se recorda ou comemora. Esses dois cantos gospel também se tornaram sinais de prenúncio da guerra, mais particularmente do assassinato de um presidente: são, portanto, cânticos de mau agouro que, no imaginário dos antigos testemunhos da guerra civil, tiveram a capacidade de agir ao provocar um regicídio. Escutar ou ouvir esses cânticos ativa as lembranças individuais e compartilhadas, mas, ao mesmo tempo, incita as reações ligadas ao presente político e às projeções de um porvir possível, recordando como a memória se situa na junção entre o passado, o presente e o futuro.
International audience ; This article examines the relationship between music and the memory of the past, in particular the memory of the Burundi civil war as a historical experience. It deals with the way in which music has become both a medium of memory and a lieu de mémoire regardless of the intention of its composers. Since the assassination of President Ndadaye in October 1993 and during the following months, the National Radio and Television of Burundi frequently aired songs. Among them were two songs, "Ibimenyetso vy'ibihe" ("The Signs of Time") and "Shalom" ("Peace"). These gospels were sung by the Rwandan choir Hoziana Choir. This article explores the representations associated today with these two songs by those who used to hear them on the radio in time of war and exile. Based on the ethnography of Burundians living in Île-de-France, this paper shows how these songs activate different memories related to pain, loss, suffering but also to the ordinary actions of those who tried to stand in the way of massacres. Listening to them brings back a memory that transcends ethnic groups or social categories, promoting on the contrary a community of experience at a national scale. For the survivors of the civil war, the memory charge of these gospels takes precedence over their religious character, but for the new generation they are mere religious songs. The memory charge of these songs is therefore fragile and is likely to disappear. The article insists that these two songs are "unintentional musical monuments": they differ from built monuments as they are mobile and able to reach out to those who remember or commemorate. These two gospels also became warning signs of war, especially of the assassination of a president: they are therefore ominous songs which, in the imagination of those who witnessed the civil war, have the capacity to act and cause a regicide. Listening to or hearing these songs activates individual or shared memories of the past, but at the same time it induces reactions linked to the political present and projections into a possible future—this reminds us how much memory lies at the junction between past, present and future. ; L'article examine les relations entre la musique et la mémoire du passé, plus particulièrement la mémoire de l'expérience historique que fut la guerre civile au Burundi. Il traite de la façon dont la musique est devenue, indépendamment de l'intention de ses auteurs, un support de mémoire et un lieu de mémoire. Depuis l'assassinat du Président Ndadaye en octobre 1993 et pendant les mois qui ont suivi, des chants passèrent fréquemment sur les ondes de la Radio-Télévision nationale du Burundi. Parmi eux figuraient deux chansons, « Ibimenyetso vy'ibihe » (« Les signes des temps ») et « Shalom » (« La paix »). Il s'agit de gospels chantés par la chorale rwandaise Hoziana Choir. L'article explore les représentations aujourd'hui associées à ces deux chants par celles et ceux qui les entendaient jadis à la radio dans un contexte de guerre et d'exil.À partir d'une enquête ethnographique réalisée auprès de Burundais vivant en Île-de-France, l'article montre que ces chants activent différentes mémoires associées à la douleur, à la perte, à la souffrance, mais aussi aux actes ordinaires de ceux qui ont tenté de s'opposer aux massacres. Leur écoute fait resurgir une mémoire qui transcende les ethnies ou les catégories sociales pour fait valoir une même communauté d'expérience à l'échelle de la nation. Si, pour ces rescapés de la guerre civile, la dimension mémorielle prime sur la dimension religieuse, ces gospels ne sont plus de simples chansons religieuses pour les nouvelles générations. Leur charge mémorielle est donc fragile et risque de disparaître. L'article considère ces deux chants comme des « monuments musicaux non intentionnels » : ils se distinguent des monuments bâtis par leur spécificité d'être mobiles, allant ainsi à la rencontre de celle ou celui qui se souvient ou commémore. Ces deux gospels sont aussi devenus des signes avant-coureurs de la guerre, plus particulièrement de l'assassinat d'un président : ce sont donc des chants de mauvais augure qui, dans l'imaginaire des anciens témoins de la guerre civile, ont la capacité d'agir en provoquant un régicide. Écouter ou entendre ces chants active des souvenirs individuels ou partagés du passé, mais induit en même temps des réactions liées au présent politique et des projections dans un avenir possible, rappelant combien la mémoire se situe à la jonction entre passé, présent et futur. ; O artigo examina as relações entre a música e a memória do passado, particularmente a memória da experiência histórica da guerra civil no Burundi. Discute-se de que maneira a música se tornou, a despeito das intenções de seus autores, um suporte de memória e um lugar de memória. Após o assassinato do Presidente Ndadaye, em outubro de 1993, e ao longo dos meses que se seguiram, cânticos foram repetidamente transmitidos pelas ondas da Radio-Télévision Nationale du Burundi (RTNB). Dentre eles, duas canções se destacam: "Ibimenyetso vy'ibihe" ("Os sinais dos tempos") e "Shalom" ("Paz"). Trata-se de cantos gospel entoados pelo coral ruandês Hoziana Choir. O artigo investiga as representações atualmente associadas a esses dois cânticos por aquelas e aqueles que outrora os escutaram no rádio em um contexto de guerra e de exílio. A partir de um levantamento etnográfico realizado junto aos burundianos que vivem na Île-de-France, o artigo mostra que esses cânticos ativam diferentes memórias associadas à dor, à perda, ao sofrimento, mas, do mesmo modo, aos atos cotidianos daqueles que procuraram se opor aos massacres. Escutá-los ressuscita uma memória que transcende as etnias e as categorias sociais, na medida em que é exaltada uma mesma comunidade de experiência em escala nacional. Enquanto para esses sobreviventes da guerra civil a dimensão da memória tem precedência sobre a religiosa, para as novas gerações esses cantos gospel não são mais do que canções religiosas. A sua carga memorial é, desse modo, frágil, e corre o risco de desaparecer. O artigo considera esses dois cânticos como "monumentos musicais não intencionais": estes se distinguem dos monumentos construídos pela especificidade de serem móveis, indo ao encontro daquela ou daquele que se recorda ou comemora. Esses dois cantos gospel também se tornaram sinais de prenúncio da guerra, mais particularmente do assassinato de um presidente: são, portanto, cânticos de mau agouro que, no imaginário dos antigos testemunhos da guerra civil, tiveram a capacidade de agir ao provocar um regicídio. Escutar ou ouvir esses cânticos ativa as lembranças individuais e compartilhadas, mas, ao mesmo tempo, incita as reações ligadas ao presente político e às projeções de um porvir possível, recordando como a memória se situa na junção entre o passado, o presente e o futuro.